EN PLEIN AIR

Watercolor
Expert techniques and simple step-by-step projects for
creating dynamic landscapes in the open air with watercolor

Ran Stocke
No One Home for the Holidays
Seattle Art Museum at Night
Contents
Drawing
Drawing Philosophy
Drawing Styles
Perspective & Architecture
Drawing Figures

Painting on Location
Getting Started
Equipment
Setting Up
Adapting to the Conditions
Painting from Photographs
Brushes
Paint
King Street Station Step-by-Step

Composition & Tension

Placing Your Subject
Simple Shapes
Tension

Color & Value

The Color Wheel
Color Washes
Color vs. Gray
Color Swatches
Nice Marina Step-by-Step

Tips & Techniques

Developing Techniques
Shadows
Reflections
Perspective
Breaking Tension
Detail

The Artist’s Voice

 Define Your Voice
Intersection in Prague Step-by-Step
Individual Style

Sketchbook to Studio
Sketching
Sketchbooks
Interiors
Hotel Negresco Step-by-Step

About the Author

Drawing
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English Village Reflections
Drawing Philosophy

Draw all you want, but paint only what you need.
Drawing is the foundation of your paintings. It is the act of observing your
three-dimensional subject, and then trying to visually recreate it on a
two-dimensional plane using shape, value, and perspective. It is the one
thing that can derail your painting from the start, and it is perhaps the
most important exercise you will take from this book. I discuss drawing
on almost every page—reinforcing the old saying, “You can’t hide a bad
drawing with a good painting.”

In this section, I will show you a few pieces to the puzzle that have helped
me see drawing as part of the painting, rather than a hurdle I need to
overcome before I put brush to paper.

There is one rule in painting that I have learned to be especially true: “If
you want to learn to paint, learn to draw.” I am simply carrying on a
tradition from the many artists who came before me, particularly those
whom I admire and have given me this sage advice.

Drawing is one element that I’m always working on. I consider my

sketchbook to be my most valuable tool. The work you do today in your
sketchbook will pay dividends later in your finished work. In today’s busy
world, it is often difficult to find time to complete a painting every day; it’s
easier to open up your sketchbook and do a quick thumbnail drawing or
value study. Spend your time drawing different subjects in different styles
and with different media. Learn the fundamentals of basic perspective and
how to see your subject well enough that you can recreate its likeness in a
sketch. Remember, these are your lines, and they can never be duplicated;
and if they originate from a strong foundation, they can never be
challenged. This will soon become one of your favorite pastimes. As you
develop your ability, you are also developing your artistic fingerprint. This,
to me, is perhaps the best reason to be a creative person and should give
you the permission to draw your own way. It’s what inspires me every time
I go to my easel.

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Madrid Fountain
Drawing Styles
There are many drawing styles to practice—crosshatching, pointillism,
scribbles, etc. My preferred technique is a modified contour drawing. I
call this a “controlled scribble.” Contour drawing is a technique in which
you draw your subject with one continuous line without li ing the pencil
from the surface of the paper. This technique is a wonderful way to help
so en edges, loosen up, and connect your shapes. In most of my work,
my first concern is connecting shapes. With contour drawing you can
achieve this easily—it just takes practice.

Start by making a simple shape, say a circle. Now keep your pencil moving
and don’t lift it off the paper. Move to the side of the circle and draw a
square, the whole time never lifting your pencil from the surface. Think of
it as a controlled scribble.

What you have done is draw two shapes with a connected the pencil line—
but more importantly, you have connected the two shapes in your mind. So
when you paint them, you won’t hesitate to connect them with a
brushstroke, a wash, or by some other means. The reason connecting shapes
is so vital in watercolor is because, unlike other media, it is very easy to get
caught up in the work and accidentally establish unattended hard edges.
This is known as tension. Most artists tend to paint all of their shapes
separately, but this can be the kiss of death in watercolor. By connecting
these shapes in your drawing, you’ve created a path to paint.
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Hashmark This consists of straight intersecting lines that build form and value.

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Contour This exercise is great for drawing organic lines.

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Combination Combining both styles takes advantage of both line strengths and frees up
your mind so that you can draw in a loose and unpredictable way.

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Washington Square Park, NYC
On Location
When on location, you rarely need to render a finished drawing, because
chances are you are just sketching. However, back in the studio, it is
tempting to tighten things up and begin to draw more detail than needed.
Don’t do this! The line quality of a quickly drawn gesture drawing can have
unique energy that will help you in your paintings. It is your artistic
fingerprint.

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The examples on these pages demonstrate what I mean. I have drawn the
same composition twice. On this page, above and below, each element is
drawn separately, as if cut and pasted. On the next page, I’ve drawn the
same group of shapes with one continuous series of lines, not hesitating to
draw through shapes or even taking the time to complete some shapes.
When these lines are filled in, the finished result gives a looser, more
intuitive composition.

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Loosening Up
All lines are not created equal. When I approach my subject, I ask how I
can recreate it with as few brushstrokes as possible. This is also how I
approach a drawing. My focus is not the inner detail of my subject, but
rather its outside edges. As you spend time drawing, think of how you can
create your subject with as few lines and shapes as possible.

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By drawing in this way, you are doing several things, including setting the
stage for how the painting will feel. Connecting your shapes with one
continuous line creates an image with less negative tension, and therefore,
when you apply paint it will flow more easily and give a fresher feel. This
is the beginning of loosening up and creating exciting watercolors!

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Simplify Your Subject
Say I’m painting on location. I’ve set up and I’m ready to go. I evaluate my
subject, sketch my composition, and then finish my drawing. Just before I
start painting, a car either parks in front of my subject, or the car that was
prominently placed in my composition drives away! These events happen
often. My remedy is to simplify the car shape so that I can place one in the
composition whenever or wherever I want.

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Above and Below are two more examples of how to draw a subject, leaving out unnecessary
details, so that it has more interest and a looser, spontaneous feel.

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Breaking down and simplifying your subject into as few shapes as possible
can help save time on location. It also helps to remember that you really
only need to inform the viewer once. If they believe that they are looking at
three boats, then you need only be accurate with one. The other boat shapes
can be rendered freely. This will not only loosen up your painting style, but
it will help add a unique quality to your work.

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Dry Dock
Perspective & Architecture
Perspective can be confusing at first, but once you have grasped the
basic principles, your drawings and paintings will begin to look and feel
more authentic. To understand perspective, you have to start with the
horizon line, and accept the paradox that it presents when moving from a
drawing to a painting (see “Breaking the Horizon”). The horizon line is
not just a line that separates the sky and earth; it is the foundation from
and to which everything is either physically or visually connected. It
should be placed before attempting to draw anything else.

Artists have one major choice that is completely theirs: the placement or
angle of the horizon line. Note that this choice can change the viewer’s
position. I encourage you to explore the possibilities—they can add drama
and excitement to your work. The horizon line should be the first thing you
place on your imagined plane when you start a new drawing.

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A simple rule for perspective is to trust what you see. If you establish your
horizon line and find your vanishing points (VPs), then most of the job is
already done. The VP is a point on the horizon where all lines converge.
You only need to connect these lines from your structure to the VP or vice
versa—whichever way works best for you. Starting from your structure
makes more sense, simply because you are originating from the window,
door, roofline, etc. But don’t worry. Once you get the hang of it, this will
become a natural part of your drawing process.

Say you are trying to establish the perspective of a building or any parallel
horizontal lines within the structure. First you want to find the vanishing
points. In this example, we will concentrate only on single-point
perspective. Look at one side of the building (the front or left-side view
shown below). Think of your VP as a giant pushpin, where all of your
perspective lines are strings tied to the point of the pin.

After establishing the horizon line, I like to start at the roofline because it
normally has a large value shift between the building and the sky. Value
shift is defined as the range of light and dark of two opposing objects. This
helps me place the object into my composition. Use a pencil or the handle
of your brush to help you follow this line from the top edge of the roof to
the horizon. Where these two lines meet is your vanishing point. This line
also represents the angle of your roofline. Use this VP to find the angle for
your windows, doors or any other architectural detail on the building, but
don’t stop there. Your VP dictates the lines above and below the horizon.
Street curbs, crosswalks, and even cars will be affected by the same VP.
An Overview of Perspective
In real-life, your drawings and paintings will commonly have multiple VPs.
It’s safe to say that each side of a building, cube, or box will have one. The
exception is when you are facing the building straight on. See how the two
blue parallel lines will never meet in the single-point perspective figures
below.

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SINGLE-POINT PERSPECTIVE
The two red lines converge to the same point. The two blue lines never meet.

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This shows the VP located behind the cube out of view; however, the same rules apply.

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TWO-POINT PERSPECTIVE
Both the red and the blue lines converge to separate vanishing points, thus giving the cube its
form.
Vanishing Points in Practice
Here I’ve simplified the concept by illustrating how all the major lines of
the buildings eventually end at one point. I would like to say that this is an
absolute with all man-made structures, but I have been proven wrong with
creative architecture (think of Frank Gehry) and where buildings have aged
and settled over time. That said, use this as a general rule to avoid the major
issues you will otherwise experience.

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Piazza della Repubblica, Florence
Many times, the best way to draw a viewer’s eye to a focal point is to place the darkest darks
next to the lightest lights, creating the highest contrast in that area. This is done with my use of
the dark figures and shadow next to the bright triangle of light capturing the top of the
carousel.

I did this sketch in Florence, Italy, at what is normally a very busy Piazza. I
wanted to capture the scale of the archway next to the carnival that was
taking place in the far lefthand corner. It is also an example of how
perspective and value can work together to draw the viewer’s eye to the
focal point.
Scale
It is important to know what size an object is in relation to its surroundings.
Here are a few examples to keep in mind, so that your proportions look
correct in your work.

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The average height of a man is 5 feet, 10 inches; the average woman is 5

feet, 4 inches; and the average height of a car is 5 feet. These measurements
won’t do you much good in the field, so look for other ways to scale objects
so they look correct in your paintings. For example, the average car rests
under the outstretched arm of an adult male. The seat of a café chair rests at
about the same height as your knee, and the height of a table is at about mid
thigh of a standing figure. If the figure is sitting, then the table height sits
just below the rib cage. The standard doorway is around 7 feet, 6 inches tall,
but windows can vary widely in height and width. Find other ways of
relating the size of objects in your paintings to avoid issues with scale.

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Knowing how to judge the size of your subjects in comparison to their

surroundings is important when making those first notes on paper. I like to
use a pencil as a quick measuring device. It helps me with the key elements
of my drawing, such as figures, cars, café umbrellas, etc.

I hold out my pencil at arms length. Starting at the top of the pencil (eraser
end), I find the top of the object and with my thumbnail make a mark on the
pencil. I can then easily transfer this to my paper.

Understanding general rules will help the process go much faster. For
example, it will help you get the scale correct if you know that a person
riding a bicycle and a person standing next to a bicycle are roughly the
same height.

These small but important details will help you draw objects so they don’t
look out of scale. You’ll pick them up as you become more experienced.
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Market Café, Nice, France
Cars
It is hard to imagine not seeing a car in your everyday life. The automobile
is a shape that most of us will see hundreds, if not thousands, of times a day.
In some situations, vehicles will outnumber humans two to one. I’m
referring to parking lots, sporting events, and freeways. Unlike the human
figure, automobiles are much easier shapes to draw.

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BASIC SKETCH This is a basic sketch of cars parked on the side of the street. Remember, I’m
only trying to depict one. If I do that successfully, your eyes will understand and “fill in” the
others.

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ATMOSPHERE A row of cars is a perfect example of how to create atmosphere using these
shapes.

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CARS WITH REFLECTIONS This is not only a great way to depict a reflective surface, but the
reflections and shadows also help ground your shapes.

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CARS TO SCALE Pay attention to the scale of your shapes in relation to each other. Here, note
the height of the people next to the car.

In most of my compositions, cars are usually placed to fill in space, create

atmosphere, and to break up tension. Here are some examples of vehicles
that have been cropped out of their original paintings, so that you can view
them in isolation.

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CARS IN SHADOW The simplicity of a few lost-and-found lines may be all you need to convince
the viewer.

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CARS LIT FROM ABOVE One of the more effective ways to create mood and light is to highlight
the top and shadow the base.

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CARS EMERGING FROM SHADOWS It can be effective to grab a portion of the vehicle to help
connect it to its surroundings.

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ONE IN SHADOW Having one shape connected to a large shadow creates an interesting tension
point between the large shadow and the smaller shape grabbing the light.
Drawing Figures
No subject is more challenging in drawing and painting than the human
figure. Unless the figures are sitting for long periods, you rarely have the
time to capture the entire shape. Train yourself to draw quickly to
emphasize the things you notice. For example, it might be how the legs
are positioned when a figure is shi ing weight. Remember, like any other
object in your painting, the human figure is just a series of shapes.

Taking a life-drawing class is time well spent and can help you understand
the human figure better. For now, here are some basic rules that you can use
on location to help you create a believable gesture to fit into your paintings.

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When the shoulder line moves up on one side, the waist line on the opposite side also moves
up.

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When the figure shi s weight to one leg, it shouldn’t feel out of balance. The leg connected to
the ground should be in line with the head.

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As the figure begins to walk, notice how the front leg stays straight and the back leg curves
below the knee.

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As the figure picks up speed, the arms become engaged.

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In the running pose, the figure’s arms and legs separate from the body to give a greater sense
of motion.

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For the sitting pose, make sure you add gravity. We are constantly moving from one sitting
position to another. To indicate this, drop the head into the shoulders and foreshorten the legs.
There are two common issues when Image
drawing figures on location:
1. The figures aren’t connected to the painting.
2. The drawing of the figure seems to be overworked and overdrawn.

This comes from insecurity about how to draw these shapes. Here’s the
basic rule of drawing the figure: The shoulders and the waist are connected!
When the shoulders are drawn flat, the waist line also needs to be flat.

Now that you have a basic idea of how I draw figures, here is an example of
a more finished drawing (shown here) next to how I would draw the same
figure for a painting (shown here) and the painting of that figure (shown
here).

Notice that the simplified sketch has more gestural energy than the more
finished drawing. This allows more artistic license to paint the figure my
way. It keeps a likeness of the actual figure but has not become caught up in
detail.

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Connecting Figures to Your Painting
No more cut-and-paste figures! When painting figures, cars, buildings, or
other objects, you don’t want to be too cautious around the edges. If you
isolate them, you’ll be left with hard, white edges that give the figure an
unintentional outline, separating it from everything else in the painting, and
bringing unintended tension. Here, in my painting A Hot Day in Nice,
notice how the figures come in and out of the shadows—yet they are all
connected.

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1st Avenue, Seattle

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Painting on Location
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Prague Vista
Getting Started
Painting on location has benefited me in many different ways throughout
my career. Although it has its challenges, it is most o en rewarding. It will
help you simplify shapes, understand values, and develop brushstrokes
that are full of energy. Here are a few lessons I’ve learned that can help in
your process.

Scope out your location. Get a feeling of where the best spot is to set up
your gear. Remember you may be there for a while, so try to anticipate
where your light source will be an hour or two from the time you start. It’s
very difficult to judge your values in direct sunlight, so if you have the
option, pick a shaded location.

Pick your spot. This will depend on what you really want to say in your
painting. Too far away and you might not get the information you need. Too
close and you may not have the atmosphere for a really good design.

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In this picture, the subject is in the background.

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Here the subject is in the middle ground.

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Now the subject is in the foreground.

Ask permission. If you’re painting a rural scene and are not sure if you
might be trespassing, ask permission. I have never been turned down, and
many times the property owner will buy the painting (an added bonus!). An
urban scene may have other challenges such as traffic—both cars and
pedestrians. Similar to asking a landowner for permission, you may want to
check in with the staff at whatever café or business you’re setting up in
front of. You don’t want to hinder their trade and upset them.

Draw out your image. A common mistake is to draw too small. This
usually creates negative tension and can lead the viewer’s eye to the wrong
part of the picture. Think of your image as a puzzle, where there are large,
medium, and small interlocking pieces supporting one another. Missing
some will only make the puzzle incomplete.

Set goals for the session. If your only goal is to paint a masterpiece, then
chances are you’ll be frustrated by the end of the day. You’ll leave not
remembering the time spent in the environment, or ≥the interactions you
may have had with other artists, and you’ll have a poor painting as a
reminder. If you are a beginner, have a plan before you put pencil to paper.
Maybe you want to improve your compositions, work on values, or
experiment with the ratio of water to paint. Make these your goals, and the
paintings will follow.
Equipment
The equipment I use on location are the same brushes, palette, and
boards I use in the studio. This way I’m familiar with the equipment and
don’t have to adjust in the field.

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Brushes
When it comes to brushes, you’ll eventually find your favorite shapes and
styles. My best advice is to purchase the largest size brushes you can afford.
You can cover an area with fewer brushstrokes when you use a larger brush.
What might take you ten brushstrokes with a small brush may only take you
three with a large brush. Also, it’s easier to make more mistakes with a size
10 (small brush) than with a size 3 (large brush).

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Papers
I predominantly use three paper types:

Aquabee Super Deluxe, American; 93 Lb sketch, slight texture, bright

white. This is my primary sketchbook. This paper takes all kinds of
multimedia and is sized well, giving it a durable characteristic. The hard
cover helps protect the paper when I travel. Available in pads, sheets, and
rolls.

Saunders watercolor, English; 140 Lb Cp (cold press), medium to

rough texture, natural white. I prefer the natural white tone and unique
painting quality. Available in blocks and sheets.

Arches watercolor, French; 140 Lb Cp (cold press), medium texture,

bright white. Probably the most widely used paper on the market. It has a
brighter tone that helps certain colors really pop. Consistent and available in
most art stores. Available in blocks, sheets, pads, and rolls.

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Palette
I use a metal palette. This palette is sturdy and convenient, and the honey-
based watercolor I use adheres to the metal surface well. It is the same
palette I use in my studio, so I don’t have to readjust in the field.

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Easel
Easels should be lightweight but sturdy, collapsible but functional. I have
used the same basic setup for years, but I’m constantly searching for ways
to reduce weight.

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Accessories to Take with You
You will also need watercolors, board and paper, a water container, a spray
bottle, and tape. Everything above can fit easily into the portfolio bag I
purchased for the field and also fits into the overhead compartment of most
major airlines.

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Don’t Take Your Studio to the Beach
When it comes to equipment, I think a natural reaction is to bring more than
you’ll need. I use one simple rule: If I don’t think I’ll touch it, I don’t bring
it. Carrying around too much equipment can ruin your day.

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Setting Up
Throughout history, plein air painters have been inspired by painting the
natural light. The effects of light can change the mood and appearance of
a subject in a matter of minutes. My suggestion is not to chase the light. It
is easy to want to paint the subject you are seeing now, but it can change
dramatically in a quarter of an hour and be altogether different in an
hour. If you chase the light, you’ll get lost. It’s important to try to freeze
the moment on your surface while also painting in the moment.

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Here are my steps:

1. I like to set up my gear as soon as possible: fill my water container, adjust the easel, and apply bug
spray. I try to avoid direct sunlight because it makes it difficult to judge values properly and will
only bleach out your colors. Remember, you may be there for a while, so take note of where the
sun will be halfway through your painting.
2. Take a photo. Even though the goal is to paint on location from life, it’s always nice to have a
reference of where the light and shadows were if you need it.
3. Start your value thumbnail sketch. This should be no larger than 3 to 4 inches, and allows you to
find your values and simplify your shapes. It is the blueprint of your painting. This will also help
you loosen up and keep you from drawing too many unnecessary details.
4. Get your brushes ready. I like to soak mine for a minute before I start to paint. This allows the hair
of the brush to relax and soften and gets them ready to accept paint.
5. For this first wash it’s always a good idea to mix more than you think you’ll need. Chances are
you’ll need more to finish the sheet.
6. The first wash should be the easiest; be bold and free. Don’t hesitate—when in doubt, keep your
brush moving.
7. Your focal point should rule the painting from start to finish. Unless you are leaving areas of the
paper exposed, paint through the other shapes. They will eventually be covered by additional
washes. Let the paper dry!
8. Think about what you are looking at as one large shape consisting of several small, medium, and
large shapes that are all connected, and paint them that way.
9. Squint to see your values. Try to achieve at least three values and make sure one is dark. Let your
paper dry!
10. Don’t feel you must finish the painting in one go. If you gather all the
information while on location, you can finish back in the studio.
Adapting to the Conditions
The most considered equipment and best-laid plans can fall apart if
Mother Nature has her say. An umbrella can be helpful both in sun and
rain. Comfortable shoes and dressing in layers can also make your
experience more pleasant. Depending on the conditions, your paper
might dry faster or slower than in your studio. If it is particularly warm
out, you may want to have a spray bottle with you to keep the paper wet
enough so that your washes don’t dry at a crucial stage. If it is a cooler
day, your paper may stay wet much longer than in the studio.

A common mistake I see is artists rushing the process, not allowing the
washes to set up (dry) properly, and then ending up with muddy unpleasant
edges. Adding some opaque color to your wash can help, but just be patient.
This can give you time to plan out the next stages of the painting, talk to
fellow artists, or just enjoy your surroundings.

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Painting from Photographs
We can’t avoid painting from photographs sometimes. With all of the
technology at our fingertips it’s hard to imagine not using it, but
technology has its limitations. This is why painting on location is so
important.

I can’t tell you how many times I’ve been on location and so inspired by the
scene in front of me, only to get home and be really disappointed at the
photographs I took. For one, painters are not the best photographers. We
usually take photographs for reference rather than designing a well-thought-
out composition. Second, the human eye sees its subject differently than a
camera. Yes, the camera picks up details and color, but by being present,
your other senses are engaged. Not only can you see the subtleties of color
and value, but you can feel temperature, see form, and more importantly,
see life as it’s happening. This is my goal: to depict the energy and split-
second happenings of daily life as if it has just happened in front of me.

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Église Sainte-Rita, Nice
Brushes
You’ve probably heard this statement: “I have hundreds of brushes, but I
really only use just five or six.” I call this the watercolorist’s curse. No
matter how many we have, we are constantly looking for one more. I
have friends in the construction industry who may have a few different
hammers for specific jobs or for backups in case one is broken, but when
was the last time you had a brush break on you? However, to justify our
ailment, I offer you this: you will discover over the years that it is not the
brush that improves the painting, but the time spent using these
brushes. A brush you may dislike or be unable to control now, may
become the brush you can’t live without in a few years.

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Try a multitude of brushes until you find a set you feel comfortable painting
any subject with no matter the conditions.

Here are my personal favorites:

Large squirrel-quill brush

Hair: Although there are some good synthetics on the market, I prefer
natural squirrel hair.
Carrying capacity: Best
Snap/hair strength: Poor
Line quality: Good

The term “quill” originally came from the quill of a goose feather used as
the ferrule of these brushes. Many brands have now replaced the ferrule
with synthetic materials. This brush is my main workhorse. I paint 50 to 70
percent of my paintings with this brush alone. My philosophy is, if I can
cover an area with as few brushstrokes as possible, fewer mistakes can
happen. Sizes may vary between European and American brands.

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Rounds
Hair: Synthetic, natural, and a combination of both. I prefer Kolinsky
sable rounds, sizes 10–16.
Carrying capacity: Better
Snap/hair strength: Better
Line quality: Best

Round brushes are the stars of the show. You can complete a watercolor
painting from start to finish with a good round brush. The round brush is
probably the most common brush on the market. They are available in more
sizes than any other brush shape.

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Flats
Hair: Synthetic, natural, and a combination of both.
Carrying capacity: Good with synthetics; better with natural hair.
Snap/hair strength: Better (The shape of the brush also allows for
better snap.)
Line quality: Good

Even though the flat brush is designed for big washes, if you turn it on its
edge or just use the corner of the brush, the line quality can be good.

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And here are a few specialty brushes that are also useful:

Dagger
Hair: Synthetic, natural, and a combination of both.
Carrying capacity: Good/better
Line quality: Best

The unique design of this brush lends itself to the watercolor medium. Its
shape allows you to achieve a thick-thin line that no other brush can. Good
for grasses, branches, and most foliage. It is also a good brush for floral
painters.
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Rigger
Hair: Synthetic, natural, and a combination of both.
Carrying capacity: Best—it is amazing how much water this brush can
hold.
Line quality: Best

One of the more enjoyable brushes to use. You can achieve amazing things
with this little brush. It is great for painting long, continuous lines such as
branches, electrical lines, fence wire, etc.

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Scrubber
For me, this brush has really only one function and that is to lift color from
your paper.

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Paint
Like brushes, the colors you choose can make a big difference to the
outcome of your work. If just starting out, my recommendation is to buy
the primary colors from a good professional brand and learn to mix your
own secondary and tertiary colors.

M. Graham
America
This company uses natural ingredients like honey in their watercolors. The
honey gives the paint the ability to be reconstituted quickly while painting
on location. It has a strong color intensity, with a good range of color. Most
of the line is single-pigment colors.

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Daniel Smith
America
This company has the largest selection of colors, in particular some unique
earth pigments that granulate well. It has a strong color intensity across
most of the line.

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Holbein
Japan
It has a good range of color. Unique opaque and metallic colors offered.

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Winsor & Newton
England
Started in the 1800s, Winsor & Newton is by far the oldest paint company
in the group. It has a large color range, with strong color intensity. Other
watercolor products are also available.

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King Street Station Step-by-Step
Best plans can go awry when painting en plein air, so being flexible is key.
Even though I had all of the materials I needed, a good spot picked out,
and a familiar subject matter, Mother Nature had other plans.

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The first stage of this painting started with two main washes. The large gray wash that takes up
two-thirds of the painting, followed by the turquoise wash in the bottom right-hand corner.
To define the clock tower, I waited for the background wash to set up, but not completely dry,
before I laid in a second wash of gray so it would remain diffused and have a so edge.

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Since it was an overcast day, I didn’t have the sun to dry my painting completely. This is
common when painting en plein air. You have to go with the flow and continue on. I started
painting the distant buildings with the same mixture of gray wash that I used for the
background—but staying mindful that I needed to begin connecting many of the building and
car shapes together.

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When painting on location you have to expect weather changes. When it’s too hot, your washes
dry too fast. Wind can rattle even the most experienced painter and cause you to pack up out
of pure frustration. This time it was rain. My paper still hadn’t completely dried from the first
wash. So, knowing I had enough information to finish back in the studio, that’s exactly what I
did.
Next I applied a warmer/darker value to the foreground building on the right, as well as a thick
dark value for some of the details (signs, fire escapes, and so on).

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With 75 percent of the painting done and photo references taken before I started, it was easy to
finish the painting back in the studio. I knew I had to work on my focal point. So I concentrated
on adding figures and the rest of the details needed to finish the painting. Being forced away
from your subject because of weather is not necessarily a bad thing. It allows you the freedom
of not having to compete with the actual subject and can give you license to paint more freely.
Composition Tension
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Florence, Italy
Placing Your Subject
While on location, it might be difficult to know where to place your
subject on your paper. Knowing what you intend to paint is always a
good idea. I have seen several paintings where the artist intended the
viewer to focus on one particular area, but because of poor planning the
viewer gets caught up or distracted by another area. Such indecision
causes the painting to feel disorganized. Here are some rules to help you
place your subject matter and avoid design issues.

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The English Garden. The Golden Rule works no matter the format, vertical or horizontal. Here
my focal point is the top right intersection and my supporting element is the lavender flowers
that I applied later with an opaque paint.
The Golden Rule
This basic rule of composition is normally applied during the sketching
process, so that by the time you are ready to paint, you have already worked
out the main design issues.

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1. Begin by placing a half or quarter sheet of watercolor paper on your board so that you have
a horizontal rectangle. Draw a horizontal line across the paper a third of the way down
starting from the top.

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2. Draw another line one third of the way up from the bottom.

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3. Now do the same vertically, so you are looking at a grid made up of four intersecting lines.

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4. The next step is to place your subject in one of the intersections—1, 2, 3, or 4. This will work
for most compositions. However, I encourage you to challenge this in your artistic pursuit,
and don’t be governed by unbreakable rules. There is no gravity in art.
Tension in a Painting

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1. Here I have chosen a horizontal format with the bottom right intersection as my focal point.
This choice is completely up to the artist and can dramatically change the mood of the
painting.

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2. After placing my main focal point, I then look for a balancing feature. This needs to be at one
of the opposing intersections. This helps balance the composition and is often called “the
bolder and the pebble.” The pebble shouldn’t be the same size or have the same value shift as
the boulder. Remember that the pebble should support and balance, but never compete.

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3. Here I have chosen the top left intersection for the supporting shape.

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4. Using perspective lines to indicate buildings or roads provides a strong example of how you
can direct the viewer’s eyes to your focal point.

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5. Curved lines can be used to indicate a road or river.
Keep the Corners Boring
Try this the next time you are setting up to paint on location. Take a quick
look at your subject, and think about your focal point—it’s probably what
excited you to stop in the first place. Maybe it’s the café umbrellas, or a
sailboat, or a red barn. Place this subject close to one of the intersections on
your paper. This should be your main concern, and it should rule the
painting from beginning to end. The other objects in the setting still need to
be painted, but with much less attention. As you move away from your
focal point, the other objects should start to lose detail and importance. I
believe we should interpret our subject matter in an impressionist manner;
that is, at a glance.

By keeping your corners boring, you are avoiding unnecessary tension that
might lead the viewer away from the focal point. I’m not saying to avoid
putting an object in a corner; just try to make sure that it’s connected, and
that it drives the viewer’s eye into the painting toward your focal point.

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A Night Out in Prague
Simple Shapes
This section addresses an issue that I think is just as important as the
shape itself, and that is how we see shapes in general and why we paint
them differently to what we are really seeing. My focus in this section is to
begin to challenge you to think about how and what we see as we go
through life. Rarely do we sit and stare at everything we pass by. In fact,
we are seeing much more then our mind registers, but the majority of
what we see, unless it captures and holds our attention, is forgotten
about a moment later. This is how I approach my paintings—as if we were
only given a glance at our main subject and had to fill in the rest from
memory.

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Triangle

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Circle

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Square

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Rectangle

There are many ways an artist can control the viewer’s gaze: line, color,
shape, and most importantly, value. The greatest value shift should always
happen near your target area (your darkest darks and lightest lights), but
let’s examine shapes for this next exercise.

The four shapes above are some of the earliest shapes of my memory. Most
of us probably learned these shapes and visually imprinted them before we
could walk or talk. By the time we reach adolescence, we recognize them
subconsciously. For example, quickly look at the triangle. It is a shape we
commonly see in our daily lives. The triangle can be seen almost
everywhere; we see it in nature, mountaintops, trees, and water systems. In
our cities it is ubiquitous: road signs, traffic cones, architectural design. It
can even be seen in our clothing and the food we eat. It is this familiarity
that can get us into trouble. So when we render these shapes, we need to
consider the visual strength they have, i.e. their visual tension.

We all know that if we place a figure in a painting, it immediately draws the

viewer’s eye. This is because we recognize ourselves before we recognize
any other shape. And this is exactly why we should learn how to paint
figures as random shapes so they blend into their surroundings. We can use
these ideas about connecting shapes as we create composition within a
painting.

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J&M Cafe
In this first image, the umbrellas are painted quickly with little precision so they become a
secondary part of the composition and support for my focal point.

The figures in the paintings on the right are where I want the viewers to
focus—particularly the figure crossing the street. This is your target area or
“area of dominance.” Regardless of how I paint the umbrellas, the viewer
will always come back to these figures. However, if the umbrellas were
rendered as perfect isosceles triangles, it would create negative tension
above their heads, confusing the viewer about my intent in directing their
eye around the painting.

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This second image has been digitally enhanced to show the umbrellas as perfect, regular, flat,
equal shapes. If painted this way, they will cause an unintended tension and confuse the
viewer about what they are and their purpose.

Let’s look at another example. The most common mistake I see is not with
the circle, square, or even the triangle, but with rectangular shapes. Out of
all of the shapes imprinted from childhood in our visual memory, we seem
to want to paint rectangles as solid shapes with all four corners filled in
completely. Don’t do it. As these two images show, softening the
rectangular windows makes all the difference. This can be one of the
simplest ways to release tension and make a painting look less rigid.

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 Image
Via Fillungo, Lucca

There is conflict between the perfect, dark-valued windows in the building

and the figures in the bottom right-hand corner, which are my intended
focal point. You can’t paint these competing subjects with the same tension.
One always needs to win.
Lucca Sketchbook Painting
Here is a typical page from one of my sketchbooks (image at right). The
bottom right sketch is a simple value study of what would eventually be the
painting. In this graphite thumbnail, I am trying to establish my basic
shapes and values. In the top left image, I take the sketch a bit further by
doing a color study. That is, color notes of the buildings, shadows, and
some details of my focus; as you can see, I am applying what I’ve done in
the value sketch here, just with paint. These lovely little watercolors can
end up being great references for future paintings, or they can stand on their
own as memories of the day. The brushstrokes and figure studies are done
for details I may add to the later painting.

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Tip
Here are four examples of the rectangle. It’s not difficult to see the problem. Rather than
painting a window solid from edge to edge in one value, commonly black, I tell students
to paint windows as if they are driving by them in a car: quickly, not spending too much
attention on shape or detail. If painted this way, the viewer won’t get hung up on the
negative tension of a solid shape. This allows the eye to travel over these shapes and
settle on a more important area of the painting.

1. Painted solid, from edge to edge in one value—negative tension, poorly executed.

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1) Never

2. Quickly painted using the texture of the paper—this allows the eye to travel over this
shape to a more important area of the painting.

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2) Acceptable

3. Quickly painted, indicating some detail and utilizing positive and negative shapes.

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3) Acceptable

4. This is a combination of two and three.

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4) Acceptable
Tension
I believe that there is a certain amount of tension in almost every aspect
of our lives. As artists, we naturally try and interpret this in our work.
Throughout this book, I will describe the negative and positive tension
we experience in color, value, and most importantly, design. To begin,
let’s look at the use of tension in as simple terms as we can—a single
brushstroke.

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Brushstroke (Flying White)

• Is the brushstroke above positive or negative?

• Is it positive because it is darker than the rest of the paper?
• Is it negative because it is a small shape on a larger sheet of paper?
• Can it be both?

Let me explain. One day while painting with a friend, I made an energetic
dry brushstroke on a painting. My friend, Yuming Zhu, a master Sumi artist,
declared it “flying white.” I had never heard this term before and asked
what he meant. He explained to me that he was taught to look at the lighter
value as having equal weight to the darker value.

Most of us will only see the dark positive value as it breaks up into the
white of the paper, creating a staccato or broken color; we won’t pay
attention to its lighter counterpart. It can be debated that without the lighter
value, the darker value would sit flat and have very little interest at all.

This is the concept of tension. It is the balance we should try to achieve in

our work. However, it’s important to note that very often they will not be in
equal proportions.

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Behind Dagmar’s
Notice the tension the boats create through value and shape. This would not be as effective if I
had treated the foreground detail with the same attention, so a looser passage was applied.

In Post Alley Shadows, see how the broken ribbon of light supports the
much larger dark value of the shadow that connects the foreground
and distant buildings into one shape.

I want to be clear. Don’t think of negative and positive tension as good

or bad. Think of them as equals, as in Brushstroke (Flying White). The
blue is a positive brushstroke, but it is the white that adds the interest.

As you compose your paintings on location or in the studio, start asking

yourself, how am I going to balance this image?
• Tension in color: the positive and negative tension comes from simply choosing the right or
wrong color combinations.
• Tension in value: this comes from the incorrect amount or placement of lights and darks in
your composition.
• Tension in design: this refers to the arrangement of shapes, value, and line within your
painting.

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Post Alley Shadows
Breaking the Horizon
Here are some quick tips on how to change tension in your paintings by
simply changing the horizon. But as I mentioned here, there is a paradox
with the horizon line. The issue lies when you move from your drawing to
your painting. At the drawing stage, the horizon line is the most important
line you make. It establishes a line on which your vanishing points rest and
the parallel lines of your object converge, so that distance and form are
created. Without it, you can’t have organized form or consistency of line
within your objects. In your drawing, the horizon line is strong and
absolute. However, when making the leap from drawing to painting, you
must diminish the visual power of the horizon line—in other words, reduce
its tension. You do this by breaking it.

Breaking the horizon can be achieved by connecting it to shapes or by

losing it altogether. Even though the horizon line was the first line I drew in
all of these sketches, I have done my best to try to eliminate it altogether, so
that when I begin painting there is no hesitation to paint through or connect
a distant shape to one in the foreground.

CHOICE 1. HIGH HORIZON

This example illustrates a simple way of how to achieve action and
movement in your image. Notice how the viewer is pulled into the
image simply by showing more of the foreground.

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CHOICE 2. MID HORIZON
This is the more common choice for most artists because it is normally
the viewer’s vantage point. It is a more balanced design and is
commonly what you, the viewer, is seeing in a real-life situation.

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CHOICE 3. LOW HORIZON
A lower horizon line can help you create drama within your paintings. Use this opportunity to
create distance, but don’t forget to connect the painting.

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Color & Value

Game Day Safeco Field

The Color Wheel
The practice of painting a color wheel is worth the time and effort for any
artist. I have painted dozens over the years and have learned something
new with every one. It is important to note that with so many brands of
watercolor on the market, one could do a color chart for every brand and
achieve a wide range of secondary and tertiary colors. It is important to
understand how color can affect the mood, focus, and tension of a
painting, and how the power of good color harmony can make the
difference between a good and bad painting. We know that the primary
colors dictate the color wheel; that work has been done for us. We also
know that mixing red and blue make violet, red and yellow make orange,
and that yellow and blue make green.
The Analogous Palette
An analogous color wheel or palette is when you select one primary color,
like red, and use the adjacent colors around it to create an overriding color
theme for the painting. The analogous palette is perfect when you want to
convey mood to the viewer. I suggest painting individual wheels using just
one set of colors around each primary color. Make one wheel with all of
your reds, another with all of your blues, and the last with your various
yellows. What you’ll end up with are wheels of color temperature. This is a
great way for you to figure out your warm and cool reds, blues, and
yellows.
The Split Complementary Palette
I like to use this palette on location because it simplifies the process, and I
usually come home with a more interesting painting. A split complementary
deals with a similar concept as the analogous with one basic addition. If you
begin with a red-orange color scheme, you would then add one of the
complements like blue-green to help balance the painting. By doing this
you are creating interest and color harmony that will help connect your
painting.
The Harmonious Palette
The power of good color harmony can make the difference between a good
and bad painting. When it comes to color, the most common questions I
hear from students are: “What color is that?”, “What color should I use?”,
and the famous, “What is your favorite color?” For the record, I’m sure I
asked my mentors similar questions when I first started out. Frequently the
answer I was given was not really about color but about value. Like me, I
believe that most artists confuse color with value. Value can have a greater
affect on color than you think.

Think in terms of values instead of color.

It’s easy to see how we can recreate value in the studio. Now let’s see where it can be applied in
the real world.

It is easier to look at a red bus and decide which red to paint than it is to
look at the same red bus and decide what value it possesses. As soon as I
started to understand how value could affect my work, I began seeing my
subject in a different way. No longer was I concerned with what red to use,
but rather what value—or more appropriately values—to use so that I could
create form, or shape, and distance, in what I painted. The next time you’re
pondering what color an object is, make sure you understand the values of it
and its surroundings.

But for now, let’s discuss the power of good color harmony in a painting,
how a limited palette can make a big impact, and why painting with grays
can make colors look more intense.
Figure 1

Figure 2
 Figure 3

Figure 4

In figures 1 and 3, the values fall into the 1 or 2 range of the scale (see
value scale shown here), whereas in figures 2 and 4, both the
sketchbook and cloud fall into the 9 or 10 range. After teaching for a
number of years, I often see this common mistake made. Perhaps
subconsciously we don’t believe what we are seeing, and so we tend to
paint a preconceived idea of our subjects, rather than what is truly
there. In this case, a white cloud or white sketchbook painted with a
dark value.
Color Chart

Cadmium yellow light

Yellow ochre

Cadmium orange

Cadmium red light

Alizarin crimson

Maroon perylene

Cobalt blue

Cerulean blue
 Turquoise

Viridian

Indian yellow

Burnt sienna
 Cadmium red

Cadmium red dark

Dioxazine purple

Ultramarine blue

Cerulean blue deep

Dark cobalt teal

Sap green

Neutral tint
Color Washes
Here are three examples of two sedimentary opaque colors, cadmium
red light and cobalt teal, mixing on the paper.

Bad: The left swatch shows the two colors mixed at different
consistencies, and where one color (the red) was allowed to set up
before adding the teal. The result is a muddy, undesirable transition.

Better: The center image shows a better gradation, but you can still see
the demarcation line of the red. This is due to the red setting up or
being allowed to dry to a point where the red and green could not mix
and merge properly.

Best: The image on the right was painted with the two colors at the
correct consistency but also at the correct drying stage or time, proving
that if the two colors remain wet, they can be blended properly.

The two brushstrokes to the right of the washes are the two colors
mixed on the palette: one with more red in the mixture, one with more
turquoise. This shows the difference between mixing colors on your
palette versus mixing on the paper.
Mixing Your Greens
I prefer to mix my greens on the paper rather than the palette. The
combinations from allowing two colors to merge on the paper are endless
and can often be more exciting than the colors you use straight from the
tube. This reaction is one that is unique to the watercolor medium.

Yes, it’s true, if you mix blue and yellow on your palette in equal ratios, the
result is usually green. However, if you allow the same two colors to mix on
the paper, you can create a green/gray that may work better for what you are
trying to achieve.
Kona Sunrise
Another common combination I use is ultramarine and yellow. On the near right, I added
ultramarine blue—a sedimentary, transparent color—over a wet wash of Indian yellow: a
staining, transparent color. Then, on the far right, I mixed them the other way around, with the
Indian yellow added to the ultramarine. The separate brushstrokes above are the same colors
as they appear a er mixing on my palette.
The Blue Vespa
Practice this type of experiment wherever and whenever you can. Knowing
that you have limited time can help you loosen up and result in a great
image for your sketchbook. The lighter gray background wash was mixed
on the palette, using the same colors that I used for the scooter.

Blue/orange gray
It’s easy to see why I used these two colors together because they contrast so beautifully.
Cadmium orange is an opaque staining color, while cobalt blue is a semitransparent color, and
both granulate well. I consider these colors to be two of the most beautiful in my palette. Not
only are they almost perfect complements, but when combined they create a particularly
unique visual spark.
Shown here is a more obvious example of how by li ing my brush I allow more water and color
to flow down the right side of the wash. One way to avoid this is by li ing the brush a er
you’ve moved past the tape line.

The tertiary color in the middle turns more gray than green.

I judge success by the intensity of color and watermarks. Where I feel this didn’t really work
was when I didn’t get to the orange fast enough, and I didn’t judge the weight or intensity of
the turquoise correctly. I’m constantly trying new combinations, not only with color, but with
timing and consistency of paint. These studio-made color swatches are great exercises that
you can add to your artist sketchbook, so when you approach a painting you don’t hesitate to
try new ideas. This way you can focus on painting with purpose and energy.
Mixing Your Darks
Instead of using commercial premixed blacks, here are some ideas for color
combinations that I mix to achieve my darkest darks.

Notice the two blacks below (ivory black and lamp black). They can be
used for your darkest darks, but when dry they can leave a flat appearance;
when disturbed into a wash, the result is a dull, unexciting gray.
 Ivory black

Lamp black

The combinations on the following pages still achieve your darkest darks,
but they are created by mixing two colors together. The result is a much
more interesting wash, and the dark area will have a trace of light that will
make your darks really sparkle. To make the most of this technique, play
with the percentages of your color mixtures—usually a cool and a warm
color. Add more of the cool color, and you will produce a perfect dark for a
winter or dreary day scene. Add more of the warm color, and you will get
that particular warm dark of a hot day.

Ultramarine and maroon perylene

Turquoise and alizarin crimson
Dioxazine purple
Purple burnt sienna
Color vs. Gray
The importance of painting with grays cannot be overstated. Grays are as
important as any primary or secondary hue on the color wheel. We all
know that by mixing red and yellow we get orange; however, many
struggle to understand how to mix warm or cool grays, which, in fact, are
more commonly seen than primary and secondary colors.

Some artists run into problems when they try to achieve a gray tone by
building up layers of color. This results in dull, muddy areas. When
referring to grays, I am not speaking of a color you can purchase in a tube,
but rather the color that is the outcome of mixing two or more colors. I’m
also not referring to several colors being stirred around on your palette that
invariably end up a drab monotone hue. Nor am I talking about building up
layers of washes on your paper. If mixing color on your paper is important,
then grays on your paper are equally important. The combinations are
endless and they can give your painting the mood and interest you’re
looking for.
Rain Delay
If it weren’t for the red awning and the reflection on the ground, this painting would be a study
in grays; it shows why painting with grays is so important. Grays act as a supporting
color/value to the brighter areas of color. They connect our shapes and help with perspective.
Remember that cool grays recede the horizon and warm grays advance it.

Here is a simple example of the range of grays that can be accomplished by

mixing two colors. On the warm side, I used burnt sienna and on the cool
side, ultramarine blue. The warm, cool violet/gray that these two colors
create where they merge (known as the middle third), bring interest to what
could otherwise be a dull and rather boring area of the painting because it
supports the colors rather than competes against them.
Hotel Vancouver (Aquabee paper sketch)
Color Swatches
These are some of the common color combinations I use. They show how
you can mix complementary colors without graying them—although
there are some failures. By mixing on the paper, the two colors hold their
integrity and create a tertiary color. But if the two colors were mixed on
the palette, the result would be gray.

Here is a mix of cadmium yellow light, which is a sedimentary opaque color, and dioxazine
purple, a staining-transparent color. The smaller color swatches are the two colors mixed on
the palette. From le to right, I started with a greater concentration of the yellow, gradually
mixing in more and more of the purple. Diluted into a light wash here, dioxazine purple is one
of the darkest colors in my palette and can quickly turn this wash black or into a #1 value. (See
scale image shown here.)
The large swatch (above) is an example of the two colors mixed on the paper at the same
consistency and value. If the colors are allowed to mix on the paper, the result is a tertiary
color that can be used to create mood, light, and interest.
Here is one of my favorite combinations: a mix of burnt sienna, a sedimentary-semitransparent
earth color, and turquoise, a staining transparent color. There seems to be endless variety
when these two colors are mixed together on the paper. They provide one of my favorite
combinations for old buildings, wet-street scenes, and figures.

This shows burnt sienna and ultramarine blue, sedimentary transparents, mixed together on
the paper. The le side shows an example of the two colors mixed at incorrect consistencies,
which can give unpleasant blooms and watermarks. On the right, the same two colors are
mixed with a more consistent ratio, resulting in a more pleasing wash with a lovely gray-violet
aspect. Note that some watercolor brands will turn green instead of gray.
For this swatch, I used two sedimentary opaque colors: cadmium red light and cobalt teal.
These can be difficult to mix together because of the strength and weight of their pigments.
The result where they merge is a dark, muddy gray.
Nice Marina Step-by-Step
Once in a while you come across a subject that you just can’t wait to
paint. I saw the finished painting of the harbor in Nice, France, in my
mind’s eye the moment I arrived. It can be tempting to just jump in and
start without doing any planning, but my advice is to take a few minutes
to do a thumbnail sketch so that what you are seeing in your head ends
up on the paper.
The first stage of this painting started with two main washes: the large gray wash that takes up
two-thirds of the painting and the turquoise wash in the bottom right-hand corner.
A er everything was dry, I started at the distant hills and worked my way into the buildings.

Before this wash was dry, I applied a strong dark that connected the background and
foreground shadows.
Next I started adding some finesse (windows, boat details, and connecting shapes) to help
merge the mid and foreground.
Finally, the finishing touches. I reinforced the boat and buoys, added boat masts, rigging, and
other details, as well as movement in the water and wave shapes.
Tips & Techniques

Big Island Boat Rentals

Developing Techniques
In this chapter, I thought it would be instructive to look at a few
techniques I have developed over the years that might help you achieve
more successful paintings. Techniques, however, can have “traps” of
their own. If not continually developed, your work can become stagnant
and uninspired. The good news is that no two people can make the same
brushstrokes. Just like our tastes in music or food, we are all individuals,
and if given time, that individuality will come to the surface. My focus in
this section is to show you new techniques to build and improve;
consider this a challenge for you to develop these techniques into your
own style.

My goal was to connect this painting using one large shadow starting at the top le and ending
at the bottom right. I applied one continuous wash to avoid watermarks and blossoms
(blotches).
Shadows
Shadows are constantly on the move. Light sources frequently change
positions—the sun as an example—and affect our shadows in many
ways. As light sources change position and intensity, dramatic things can
happen to shadows. A shadow that starts out cool and dark in value can
become quite warm and full of color in a short period of time.

Caution: Two common mistakes I see when people paint shadows are the
shadows are not connected, and they are painted as mirror images of the
objects casting them. Very rarely do we see this occur in real life, and it
only confuses the viewer. Remember, the surface on which the cast shadow
appears can affect the shadow’s appearance as much as the object casting
the shadow.

Tip
Don’t forget, the ground affects how the shadow appears just as much as the object
casting it—in this case the chair.
Tip
Here I’ve isolated some figures and their shadows to show how they should be connected.
Reflections
Unlike shadows, reflections only move when the surface that is reflecting
the image moves. In other words, if the surface moves so does the
reflection. If the surface is still, as with a wet street, then the reflection
stays put. However, if the surface is a moving body of water, for instance,
the results are quite different.

Elliott Bay Marina

When the reflections of multiple objects meet, such as boats resting in a harbor, the result is an
abstraction of these objects. For painters, this can create great opportunities and allow us to
paint with more freedom. The results are brushstrokes that have been applied with energy and
abandon, giving the vibrancy of life to the composition.

Tip
If objects overlap, connect their reflections. Try not to overthink reflections. The simpler
the better.
Solo in Paris
Caution: Be careful about connecting your reflections, and don’t confuse them with
shadows. Reflections only fall in one direction, downward.
Perspective
Sitting instead of standing while you paint can drastically change your
perspective. Sitting can skew the perspective of vertical lines, and it also
hinders your movement, which usually results in a tighter finished
product.

Caution: Be aware of the consequences of sitting while you draw or paint.

Tip
If you can’t stand for a full painting, then I suggest standing while you draw. This way your
vertical lines and perspectives start out on a strong foundation. Once you have the
skeleton drawn out, you can sit to complete the painting. I personally prefer standing
while painting. This gives me the ability to step away from the painting and observe it
from a proper distance, while also giving me the ability to keep my drawing loose.
Breaking Tension
One of the best ways of creating or breaking tension in your work is the
way you approach horizontal and vertical lines.

Tip
In the photo shown below, notice how the edge of the market sign creates a tangent next
to the edge of the building. It lacks depth and will confuse the viewer if a shadow is cast
onto the building. The photo immediately following the first shows a change in position,
which makes a huge difference to the perspective. Before you start drawing on location,
double-check these small details and make adjustments as necessary. These relatively
minor points can make a big difference in your finished work.
Caution: The trap here comes down to how you treat edges and lines in your paintings. Some of
these issues can be solved in the drawing process, but once you start painting, your drawing
can get lost underneath your washes. This means you have to make these decisions as you
paint.
Detail
When it comes to detail, “If you can’t hit it with a baseball, then don’t
paint it.” I use this analogy because it is an easy way to remember that by
painting details that are too far away or insignificant, you only slow your
brush down and distract the viewer from what you are trying to say in
your painting as a whole.

Narbonne Street (Aquabee paper, sketch)

 Tip
One of the key ways to avoid bad or negative tension is to avoid painting details. Ask
yourself if the details will necessarily help your painting. It is possible to convince the
viewer that they are looking at an entire city block by applying just a few well-thought-
out shapes.
The quiet areas—or “abstract areas,” as I refer to them—are o en the very elements
that support the painting. The focus shouldn’t be on painting every vehicle in the parking
lot or every shoe on every figure’s foot, but on the important elements that convey a
message to the viewer. These areas can also allow for the most exciting color transitions
by providing accidental rewards and opportunities for your medium to take on a life of its
own.

If you can’t hit it with a baseball, then don’t

paint it.

My Final Tip
Finally, the best tip I can give any painter is the same advice I received
myself many years ago. Paint often, and paint a lot. Push yourself to try
new techniques, and then develop them into techniques you can call your
own. Your failures will always outnumber your victories, but keep listening
to that voice inside that keeps calling you back to your palette.
The Artist’s Voice

Virginia Inn
Define Your Voice
I believe what separates us most as artists is quite possibly the one thing
we have most in common. That is, the time we spend painting. Those
hours, days, and years we spend honing our artistic skills start to
develop, over time, a unique calling card and style that separates us from
one another.

Take someone who is just beginning to paint. They are timid about most
everything: drawing, color choices, brushwork—even which equipment to
purchase can be daunting. Believe me, I know this from experience. I used
to question everything, and my work showed it. Years later, I still have
those questions; I still fall into the traps I’ve warned you about in this book.
The difference now is that I have compiled a memory of how and when to
apply certain washes to the paper. Maybe my drawing is closer to what my
idea of a shape should look like, and my equipment has been carefully
selected from a room full of equipment I’ve purchased and no longer use.
But more importantly, I know what I want to say in my work. I’d like you
to start considering this in yours. It is as important as the techniques you
will learn over time.

Painting en plein air can help you when it comes to finding this voice. Stick
with it and make it part of your routine, and it will benefit all of your work
in a positive way. By working en plein air, your brushstrokes become
reactionary rather than calculated.

Look at the three paintings of the Public Market Center that follow. They
are essentially from the same location but have completely different moods.
Morning Market
Here I have abandoned almost all of the detail that this busy location offers and have instead
guided the viewer to one single figure (the woman in the yellow coat). I couldn’t have done this
without the large milky wash that connects almost two-thirds of the painting.
Mid-morning Market
If you squint at this image, it really comes down to three basic shapes. The sky, the buildings,
and the shape that tells the story: the ribbon of light that captures the taxi and the figures.
A ernoon Light Market
This time the composition is all about the light. The figures, shadows, and architectural
perspective are telling the viewer the same thing—look at the light!
Intersection in Prague Step-by-Step
This step-by-step illustration shows how to bring your artistic voice out in
your work. The actual painting was done on an overcast day with so
shadows and muted colors. I felt that a more exciting palette was needed
for this intersection in Prague. Changing your color palette and stylizing
your shapes are just a couple of ways you can begin to find your artistic
voice.
I first applied a loose wash of Indian yellow and alizarin crimson right across the sky, the
buildings on the right side, and in the foreground of the painting.

While still wet, I finished with a wash of purple on the buildings and main train on the le -hand
side of the painting.

Before the wash was dry, and with a thirsty brush, I pulled some of the color out of the sky,
right on the edge of the building. This is my main focus. It’s what will dictate the mood of the
painting and what will determine my shadows.
I had to establish some atmosphere in the background. With a few quick brushstrokes I
indicated windows and some architectural detail on the distant buildings. I increased the value
of my wash and did the same on the building on the right.
Lastly, just before the wash was dry, I used a paper towel to pull the color from the building
using a diagonal motion to create the effect of light streaming from behind the building.

Next came the most difficult part of the painting, which was to connect the large building
shapes to the trains and figures in the mid and foreground. I started with a wash of Indian
yellow on the top and right side of the buildings, then quickly transitioned to a wash of burnt
sienna and purple. It’s important to note that the color was not mixed on the palette but on the
paper—one poured into another. This makes for a much more interesting gradation of color
and helps create the feeling of light.
There wasn’t a reason to put much detail on the trains, so I allowed my dark mixture to mingle
with the cadmium red dark I applied on the top and bottom of the railcars.
At this point, I felt I had enough information to finish the painting back at the studio. Now I’m
free to continue the painting unhindered by the details. I finish putting in some of the main
figures and with a rigger brush some of the rail lines.

I also scrape into the painting with a razor to establish light poles and more lines.
Individual Style
Each of us have our own unique voice and vision in our work that we
should continue to explore as we grow. To show the wide range of styles
and possibilities achieved with watercolor media, I am presenting four
examples of artists whose work I admire.
Angela Bandurka, Ollie
Gouache, 8 x 5.5 inches

A Canadian artist living in the United States, Angela is best known for her more serious subject
matter. However, I chose this gouache painting she did of our dog Ollie, because it shows the
artist’s fun, whimsical side. Distorted from the foreshortened perspective, see how Angela was
able to capture the emotion in Ollie’s eyes while working in a very limited palette.
YuMing Zhu, Lapis Malachite Sumi
Watercolor and Gouache, 27 x 15 inches

Here YuMing shows how tradition and personal style can combine to make a strong visual. The
so , transparent washes support the more lively brushstrokes of opaque teal and seem to
balance this lovely painting of grapevines. Notice how the vine itself connects the entire
painting.
Michele Usibelli, Lisbon
Gouache, 9 x 12 inches

Michele’s strong use of color and value make her work stand out in any gallery. In this painting,
it’s easy to see the bold, confident brushstrokes that are indicative of Michele’s work. At a
second glance, notice the warm and cool notes positioned opposite throughout the painting
that tie this piece together.
Bill Hook, Grain
Square Series 10
Watercolor, 11 x 11 inches

Bill has more than 45 years of experience as an architect/illustrator. You can see the master
dra smanship in all of his work. Small in size, but making a big impression, this painting of a
grain elevator works because of the beautiful line and edge quality, good color choices, and
simplicity.
Sketchbook to Studio
Sketching
It’s fitting that we are ending this book with the one practice that I
started decades ago as a young artist. If there is one item I can’t do
without, it would be my sketchbook. It has easily become my most
valuable artistic tool—a quick, portable resource that has become
necessary in my work. Finding the time to paint a finished work every day
can sometimes be difficult. Yet it takes no time to open my sketchbook
and capture a moment that has sparked my interest or a quick gesture
that caught my eye. My sketchbook is a small part of the studio that is
always at my side.

When first starting out, my sketchbook was a place filled with fantasy,
excitement, and all of the things a young artist dreams about. It is now a
classroom, part-time therapist, and yes, the place where some of those
dreams have been recorded. The memories captured inside these books are
essentially a view of the people, travels, and moments that have made an
impression in my life.
Sketch, Cappuccino
Sketch, Figure
The Conciergerie, Paris
Sketchbooks
My studio is filled with sketchbooks. I always have one at the ready for
whenever I need to work out a problem I’m having with a composition,
test out a color combination, or when I just need to burn time. I have
different sizes, styles, and brands. Some are beautifully cra ed, ornate
books that I hesitate to draw in because I fear I’ll waste a page. Others I’m
so familiar with I can’t fill them fast enough. A sketchbook is the perfect
tool for any level of artist wanting to paint en plein air, and it is the first
thing I pack when going out.

Today you can find an abundance of sketchbooks in all different sizes,

styles, and sheet counts. With all of these choices, it can be challenging to
find the one that will work best for you. Like music, every artist has
different and unique preferences and needs, so what works for me may not
work for you. However, there are some things to consider when selecting
the right book.

Sketch, From Harbor Island

• Look for a sketchbook that can handle multimedia. I try not to pigeonhole myself into specific
papers when it comes to sketchbooks. Since you will probably want to work with graphite, ink, and
watercolor, look for a book that will accept all of these.
• Pay attention to the page count. I refuse to buy a book with fewer than thirty sheets. The more
sheets usually means less cost per sheet.
• I like a firm cover that will protect my pages. Some of the books come with hardcovers that allow
you to write on them. Recording your travels or subjects on the front cover is something I do so I
can retrieve the sketch easily if needed.
Sketch, Hat Island
Sketch, Waterfall
 Sketch, University of Oregon Campus

Sketch, Students in Lemieux

For practical use, there is a formula I often use when working out a painting
in my sketchbook. I start with a value sketch, done in graphite. This is to
simplify the shapes and values of my subject, so that I don’t hesitate on
details when moving through my painting. If I need further information, I
do a color study. This is to give me a good idea of the mood or color
harmony I want to recreate in the finished painting. After that, I may work
on figures or an architectural detail that I particularly want to get right when
scaling up to the larger sheet.
Sketch, Frog
Sketch, Our Wicker Chair
The patterns of the chair, area rugs, and old window blinds are what
interested me in sketching this subject, but once again, the light stole the
show. What you don’t see are the shadows cast by the window just out of
view to the right. I purposely ignored them so I could simplify the painting.

Sketch, Renee’s Room

This sketch of a room in my sister’s home presented a common problem—
too many things to paint. My solution was to focus on this one piece of
furniture and suggest the many books, record albums, and computers. By
reducing these details, I have improved the sketch.

Sketch, Lunch Rush

Here is a common example of the interior lighting being overpowered by
the light coming through the window. Make sure your values are correct or
the important elements such as the figures, tables, and chairs will get lost.
Interiors
Interiors are a favorite subject of mine. Not only do they convey intimacy,
but they also present unique challenges. For one, you can usually count
on multiple light sources, such as a lamp or chandelier, as well as the
light streaming through a nearby window. When dealing with this, I really
have two choices: paint multiple shadows, which even when done well
can be confusing to the viewer, or choose the dominant light source and
direct your shadows from it.

Sketch, Antique Shop Pencil

I couldn’t set up my painting gear in this small antique shop, but the shop
owner allowed me to set up and sketch this quiet corner. The graphite
sketch was done quickly using a 4B lead holder. My goal was to capture the
values and some of the unique items displayed around the store.

Sketch, Antique Shop

The color study above took me a bit longer. The focus here was to capture
the intensity of the warm colors cast from the lamps on the sideboard and
get enough information to help me when I got back to my studio. The darks
were a mixture of ultramarine blue and maroon, the same colors used in the
finished painting.

Antique Shop
Back in the studio, I gathered my sketches along with photographs I took on
location and painted a more finished piece.
Hotel Negresco Step-by-Step
This studio painting is from a study made en plein air. I thought I would
tackle two issues in this step-by-step: how to transfer an image I’ve done
on location to a more finished studio painting, and the effect of keeping
large areas of white paper exposed in a painting.

After a day out painting, I usually like to take some time to view the work
in my studio. This gives me the opportunity to evaluate the pros and cons of
the work away from my subject. Along with the painting, I study any notes,
sketches, and photographs I may have taken while out that day.

This painting (below) is of one of my favorite landmarks in Nice: the

Negresco Hotel. Unlike other paintings where the white of the paper might
be concentrated in a small area, about a third of this painting is left almost
completely paper white. I wanted to use it to create tension and draw the
eye. In this case, It was also perfect for the large, white building at the end
of the street.

Even though I painted this in the studio, I still wanted to maintain the
freshness of the painting I did earlier on location. I also felt that a horizontal
format would give the composition a better feel of distance by showing
more of the buildings and street. By changing the format, it also presented
me with a fresh look at a familiar subject.
Normally I would apply my first wash over the entire sheet, skipping over isolated areas,
leaving smaller shapes of the paper exposed. In this case, both buildings and other small
shapes were le white. However, I knew that I wanted the top dome of the hotel to stand out
against the cobalt blue sky. So I painted it first with a wash of alizarin crimson and added a
touch of Indian yellow. The large awning was done quickly with a few bold brushstrokes of
cadmium red.
The wash on the foreground building had to be loose and free, allowing the colors to mix on
the paper so that they would create an interesting tertiary color. The distant car shapes and a
few shadows came next.
The street needed to be applied quickly before everything dried, so that there would be a
smooth transition between mid and foreground. This also helped connect the buildings,
vehicles, trees, etc. A powerful wash of cobalt blue was then applied for the sky.

Image
Now came what I feel is the most important part of the painting, the shadows on the buildings.
If labored over and controlled, I would have lost the energy of this piece. So I painted the
shadows with a large mop brush, using bold positive brushstrokes that represented the broken
shadow shapes cast from the balconies, iron work, and palm tress.

Image
The palm trees, cars, figures, and other details were added for scale and interest.
About the Author
Born in 1966 in Chico, California, Ron Stocke
moved to the Pacific Northwest in 1979, where he
has remained ever since. Ron’s involvement in the
art world spans more than three decades.

Ron’s award-winning work has received top honors

in many international exhibitions, and he holds
signature membership in the National Watercolor
Society, the American Watercolor Society, and the
Northwest Watercolor Society. He is also an elected
member of the Canadian Society of Painters in
Watercolour, as well as a member of the American
Impressionist Society.

His involvement in the art industry extends into the art materials world as
well. In 2000, Ron began working with the M. Graham Paint Co. as the face
of their watercolor line. Ron regularly does painting demonstrations to
show how their honey-based paints lend themselves to his way of working.
 Dedication
This book is dedicated to my mother, Pamela, for her love and support; to my two
sisters, Rhonda and Renee, who continue to be my best friends; and to my
incredible wife, Angela, for her love, patience, support, and sense of humor
through this process.
In memory of Ursula Marie Stocke.
© 2018 BlueRed Press Ltd. All rights reserved.
Artwork on pages 112-113 used with permission.
First Published in 2018 by Walter Foster Publishing, an imprint of The Quarto Group.
26391 Crown Valley Parkway, Suite 220, Mission Viejo, CA 92691, USA.
T (949) 380-7510 F (949) 380-7575 www.QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without written permission
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Digital edition: 978-1-63322-617-3
Softcover edition: 978-1-63322-616-6
Digital edition published in 2018
Text and artwork by Ron Stocke
Editorial and design by BlueRed Press Ltd.